Well we are just speeding through the decade now! Let's take this year-by-year:
In 1967, Kit and Grace and Alma are all living polyamorously with their two children. Things are tenuous, however, as Grace is becoming increasingly fixated on the alien creatures and their grand plans for them, while Alma just as urgently wants to never speak of the aliens again. When Alma starts to think that Grace is looking for a way to call the aliens back for them, she snaps and puts an axe into the back of Grace's skull.
In 1968, Judy and Pepper are basically running shit at Briarcliff and things are going as well as can be expected. Monsignor Howard then stops by to tell Jude that the Church has donated Briarcliff to the state and that he's also leaving to become Cardinal and also that he's feeling guilty enough to arrange Jude's release before he goes. That's when it all starts to go bad. Among the dozens of new state inmates is a butch boss who looks exactly like the Angel Conroy. Jude's grip on her sanity starts to loosen as this new inmate wreaks havoc and before we know it, Jude's completely lost it. The new director of Briarcliff informs her that Monsignor Howard left two years ago, Pepper is dead and there are no plans to release her.
In 1969, Lana speaks at a book reading and is haunted by the ghosts of her past – namely, Thredson and Wendy -- who give her shit for goosing her book with embellishments, sacrificing truth for a better story. She's also become quite the diva. Kit comes to see her, and after some pleasantries, we see he's pretty disappointed in her for not following through on her promises to take down Briarcliff. He informs her that Sister Jude is still alive; he knows because he saw her while visiting Alma, who was sent to Briarcliff after that unfortunate axing-Grace episode. Then, all of a sudden, Alma's dead, too. After identifying his wife's body, Kit approaches Jude, but she's too far gone to recognize him. Lana is sympathetic, but not so sympathetic that she's going to risk her red-hot literary career to do anything daring.
Finally, in the present day, Dylan Face tracks down what appears to be the last first-edition copy of Lana Winters's book in creation. He menaces the book store owner with tales of his plan to track Lana down, show her the book, reveal his identity and then shoot her in the head. The book store owner hands that book right over. Season finale next week!
Think you've got game? Prove it! Check out Games Without Pity, our new area featuring trivia, puzzle, card, strategy, action and word games -- all free to play and guaranteed to help pass the time until your next show starts.
It's 1967. We know that it's 1967 because of the embroidered/bedazzled calendar that hangs in the kitchen. The show kind of keeps us on the hook about where exactly we are right now, but I don't have to do that. We're at Kit's farmhouse. It's been two years since last we saw Kit, Grace and baby Thomas encounter a returned Alma and a Gender-Indeterminate Baby (it's a girl). They're all living together now in one big apparently-polygamous family. It dawns on us that we're hearing panting coming from the living room. Is it sex? Murder? It's American Horror Story, so it can only be one or the other. And indeed, after a sickening cracking sound, the next thing we see is Kit Walker -- clad in a t-shirt and white underpants -- entering the frame bloodied and holding an axe. A dead body sits juuust out of frame. Oh, Kit. You poor dumb thing. Who talked you into doing that? One of the babies cries for Daddy from the other room. A freaked-out Kit calls out that Daddy will be there in a minute. To finish the job, maybe? What is happening? (Probably not. In a telling detail I missed the first time around, a tear streaks down Kit's face, joining the blood.)
After the break, it's still 1967, but in pre-axe murder times. We get a glimpse into life on the polyamorous farm. Alma washes the veggies and minds the children, while Grace obsessively sketches portraits of the vagina-faced aliens who abducted them. You get the sense that there's a division of labor wherein each of the women mothers her own child, but Grace is kind of dropping the ball with Thomas, who's running around the house with toilet paper. Also, Alma absolutely does not want to talk to Grace about the aliens and is pretty obviously not comfortable with Grace's obsessive interest in them. Kit, in the tradition of every man in this decade no matter how far down the hippie rabbit hole he's fallen (in this case, pretty far), doesn't notice any of this. He's too busy enthusing about the five of them heading down to such-and-such protest. I absolutely love the show's cartoonish presentation of the late 1960s here. It's just a pair of sideburns and a vague notion of "protest." Alma doesn't want to go to the protest, and Grace doesn't much care about anything but her drawings. Alma voices concern that the drawings might be too much for the kids to handle. Kit pusses out of a confrontation by simply taking Thomas off of Grace's lap and offhandedly complimenting Grace's talent. Alma is not pleased.